In Hamilton and Me, Giles Terera shares his personal story and relationship with Hamilton and his character, Aaron Burr. It covers how he auditioned for the role of ‘the villain’ and the journey he went on in order to understand and embody him on stage.
by Laura Kressly In the middle of a dark room, I am ushered into what looks like a largish, stand-alone cupboard. With a spotlight above a single chair facing a perspex sheet covered with a window blind, there is an immediate sense of the audience becoming the performer. Given that the four mini-plays making up […]
There isn’t a linear plot or story in The Language of Kindness, rather it’s in the individual moments between an unwell person and their nurse where this piece has its emotional power.
It’s been 436 days since the King’s Head Theatre closed its doors due to the pandemic, but who’s counting. The theatre makes a comeback with the debut of No Strings Attached by Charles Entsie, an absorbing, site-specific production about the encounter between two strangers late at night, on the third floor of an underground car park, hiding from other people’s gaze.
After the past year, you can certainly do a lot worse than Here Come The Boys in terms of sheer entertainment in this fun, slick evening.
This digital production of The Money (written by Isla van Tricht and directed by Guy Woolf), is really well done. It’s slick, with an excellent script and fantastic actors.
Despite the show only having a week’s run and now closed due to London’s descent into Tier 3, Frostbite: Who Pinched my Muff? deserves recognition.
If you can afford your own private performance, Bard in the Yard is a wonderful, gentle re-introduction to live theatre and a reminder of why we love it so much.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
I, Malvolio is Tim Crouch’s retelling of Shakespeare’s Twelfth Night through the eyes of the blighted and picked-upon puritan, Malvolio. It’s the fourth time Crouch has written such an adaptation, which he hopes will “unlock Shakespeare for young audiences”.
Kieran Hurley explores free speech and the nature of online debate in Bubble.
Visit Bethlehem is a short, sharp, site-specific show which imaginatively blends fun into a personal tale about the brutal reality of living under military occupation.
As a child of an immigrant mother, the double-bill is Lòng Mẹ like a beloved jumper that’s scratchy but warm, you embrace the small pains because the comfort and love is so much stronger.
Writer Gillian Greer confidently addresses nuances and problems around sex and consent in Meat at Theatre 503 and director Lucy Jane Atkinson ensures tensions consistently run high.
This is certainly something different to the majority of the festival’s shows: rather than a traditional show, it is a scavenger hunt/immersive promenade show, put on by established company Fire Hazard Games.
Breffni Holahan delivers Margaret Perry’s script for Collapsible with an unrelenting energy that starts high and reaches stratospheric levels.
Dad’s Army Radio Show is every bit as quaint as Godfrey’s sister’s cucumber sandwiches and every bit as cosy and comfortable as one of Pike’s scarves.
Jodie Irvine poignantly uses a great deal of humour to address the social awkwardness and loneliness of 21st-century living in Gobby.
Through movement, moments of perfect clowning, and almost-unending feasting, the Drop Dead Gorgeous ensemble transpose the female experience and made it a tangible thing that you feel you could physically wrestle with.
Push is a one-woman show centred on one woman’s story, and its sense of universality will be welcome to those who experience the pressure to have, or not have, children.